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Andrius Kulikauskas

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Book.MusicalSyntax istorija

Paslėpti nežymius pakeitimus - Rodyti galutinio teksto pakeitimus

2020 balandžio 13 d., 14:22 atliko AndriusKulikauskas -
Pakeistos 209-213 eilutės iš
Aš savo ruožtu įsivaizduosiu, kaip žmonės priešistoriniais laikais išsiskyrė nuo kitų homonidų savo sugebėjimu, kaip Tomasello pastebėjo, užsiimti bendru reikalu ("joint intentionality"). Mano manymu, lygiagrečiai išsivystė žmonių nesąmoningas sugebėjimas savo kūnus derinti, ir kartu polinkis bendram reikalui susikaupti, kaip nesugeba šimpanzės arba autistai. Manau, tokią darną palaikė dainavimas, kas skatino išvystyti balso stygas ir išplėsti kalbos galimybes. Ryškėjant bendram reikalui žmonės ėmė žaisti žaidimus, kurti vaizduotės pasaulius, į kuriuos įžengdavo bendru klausimu ir iš kurio išeidavo bendru atsakymu. Pristatysiu žaidimų gramatika, kurią išmąsčiau tirdamas Silicio slėnio įmonių kūrybinius žaidimus. Žaidimas plėtoja neatsakytą klausimą, tad šios mintys suskamba su L.Bernšteino "Neatsakytu klausimu" ir jo įžvalgomis apie muzikos gramatiką.
į:
Aš savo ruožtu įsivaizduosiu, kaip žmonės priešistoriniais laikais išsiskyrė nuo kitų homonidų savo sugebėjimu, kaip Tomasello pastebėjo, užsiimti bendru reikalu ("joint intentionality"). Mano manymu, lygiagrečiai išsivystė žmonių nesąmoningas sugebėjimas savo kūnus derinti, ir kartu polinkis bendram reikalui susikaupti, kaip nesugeba šimpanzės arba autistai. Manau, tokią darną palaikė dainavimas, kas skatino išvystyti balso stygas ir išplėsti kalbos galimybes. Ryškėjant bendram reikalui žmonės ėmė žaisti žaidimus, kurti vaizduotės pasaulius, į kuriuos įžengdavo bendru klausimu ir iš kurio išeidavo bendru atsakymu. Pristatysiu žaidimų gramatika, kurią išmąsčiau tirdamas Silicio slėnio įmonių kūrybinius žaidimus. Žaidimas plėtoja neatsakytą klausimą, tad šios mintys suskamba su L.Bernšteino "Neatsakytu klausimu" ir jo įžvalgomis apie muzikos gramatiką.

'''Readings'''

* [[http://www-personal.umd.umich.edu/~tmfiore/1/FioreWhatIsMathMusTheoryBasicSlides.pdf | What is Mathematical Music Theory?]]
2018 gegužės 04 d., 10:09 atliko AndriusKulikauskas -
Pridėta 23 eilutė:
* Unison - clapping
2018 gegužės 04 d., 06:29 atliko AndriusKulikauskas -
Pridėta 5 eilutė:
* [[http://www.ms.lt/sodas/Book/20171124CoordinatingActivity-Abstract | Could the Basis for Language Be the Reduction of Vagueness In Order to Coordinate Activity?]]
2018 gegužės 04 d., 06:29 atliko AndriusKulikauskas -
Pridėtos 5-6 eilutės:
* [[http://www.ms.lt/sodas/Book/20180124CoordinateActivities | Coordinating Activities with a Grammar of Self-Transformations]]
* [[http://www.ms.lt/sodas/Book/20171012FoundationsOfLanguage | Pragmatic Constraints for the Foundations of Language]]
2018 gegužės 04 d., 06:25 atliko AndriusKulikauskas -
Pridėta 4 eilutė:
* [[http://www.ms.lt/sodas/Book/20180621MusicalActivityAndEvolution | Musical Activity as the Basis for the Evolution of Joint Intentionality and Nonlinear Grammar]]
2018 gegužės 03 d., 23:49 atliko AndriusKulikauskas -
Pakeistos 13-15 eilutės iš
* Bernstein's six lectures and Chomsky: What came first, language or music?
* Bernstein's grand ideas and my questions
* History of evolution - abstraction of central nervous system
į:
* Bernstein's six lectures and Chomsky: What came first, language or music? Music.
* Bernstein's grand ideas and my
questions:
*
History of evolution - abstraction of central nervous system: Where is abstraction leading us? Reclaiming concreteness.
2018 gegužės 03 d., 23:47 atliko AndriusKulikauskas -
Pakeista 13 eilutė iš:
* Bernstein's six lectures and Chomsky
į:
* Bernstein's six lectures and Chomsky: What came first, language or music?
Pakeista 22 eilutė iš:
* Jack loves Jill
į:
* Jack loves Jill: What is the order of the transformations?
Pakeista 42 eilutė iš:
Attach:UQ-JackLovesJill.png
į:
Attach:UQ-OrderOfTransformations.png
2018 gegužės 03 d., 23:27 atliko AndriusKulikauskas -
Pakeista 11 eilutė iš:
List of slides
į:
List of slides and questions
Pridėta 14 eilutė:
* Bernstein's grand ideas and my questions
2018 gegužės 03 d., 23:22 atliko AndriusKulikauskas -
Pridėtos 42-44 eilutės:


Attach:UQ-Final.png
2018 gegužės 03 d., 21:47 atliko AndriusKulikauskas -
Pridėtos 37-38 eilutės:

Attach:UQ-ChomskyBernstein.png
2018 gegužės 03 d., 20:22 atliko AndriusKulikauskas -
Pridėta 24 eilutė:
* House of knowledge - universal grammar of games
2018 gegužės 03 d., 18:58 atliko AndriusKulikauskas -
Pridėtos 36-39 eilutės:


Attach:UQ-JackLovesJill.png
2018 gegužės 03 d., 18:57 atliko AndriusKulikauskas -
Pridėtos 3-10 eilutės:
* [[http://www.ms.lt/sodas/Book/20171125UniversalGrammar | Games as the Foundation for Universal Grammar]]
* [[http://www.ms.lt/sodas/Mintys/20170429Gyvyb%c4%97Ramyb%c4%97 | Kūrybos tiklas - gyvybė, o vaisius - ramybė]]
* [[http://www.ms.lt/sodas/Mintys/MatematikosGro%c5%beis%c5%bdadinaVaizduot%c4%99 | Matematikos grožis žadina vaizduotę]]
* [[http://www.ms.lt/sodas/Mintys/K%c5%abrybosPrasm%c4%97IrMenoTaisykl%c4%97s | Kūrybos prasmė ir meno taisyklės]]


----------
Pakeistos 13-15 eilutės iš
* Jack loves Jill
į:
* Bernstein's six lectures and Chomsky
* History of evolution - abstraction of central nervous system
* Consciousness - symbolic system -
Pridėtos 18-19 eilutės:
* Question - answer
* Video - rhetoric, dialogue
Pridėtos 21-23 eilutės:
* Jack loves Jill
* Video - Jack loves Jill
* Linear and nonlinear grammar
2018 gegužės 03 d., 17:51 atliko AndriusKulikauskas -
Pakeista 19 eilutė iš:
* Based on Chomsky
į:
* Based on Chomsky and Universal Grammar and Transformation Grammar and Deep structure vs. Surface structure
2018 gegužės 03 d., 17:50 atliko AndriusKulikauskas -
Pridėtos 1-13 eilutės:
[[http://lkti.lt/apie_mus/konferencijos.html | Komparatyvizmas, globalizacija ir dabartinių estetikos bei meno filosofijos diskursų kaita]], Lietuvos kultūros tyrimų institute, siūlyti iki balandžio 25 d., vyks gegužės 5 d. Siūlyti apie muziką.

List of slides
* Title
* Jack loves Jill
* Apes
* Autistic
* Algebra of copyright


---------------
Pridėtos 17-21 eilutės:
In 1973, Leonard Bersteing gave six lectures at Harvard University.
* Groundbreaking as video lessons - enhanced by performances - his teaching at the key board - multimedia - form matched by content
* Based on Chomsky
* Intuitive, conceptual and imaginative
Pakeistos 172-178 eilutės iš
* 1:49 The tritone
į:
* 1:49 The tritone

----------------------

1973 metais Harvardo universitetas įrašė šešias dirigento L.Bernšteino paskaitas apie "Neatsakytą klausimą", kaip vystosi muzika? Įkvėptas kalbotyrininko N.Chomskio atradimų, jisai ieškojo muzikos gramatikos, jos fonologijos, sintaksės ir semantikos. Jisai pabrėžė muzikos žaismingumą. Muzikos žaidimą grindė lūkesčių išvystymu, pažeidimu ir atstatymu su tikslu išplėtoti daugiaprasmiškumą, nusakyti lygtį - palyginimą ir žaisti su palyginimo viena ir kita puse.

Aš savo ruožtu įsivaizduosiu, kaip žmonės priešistoriniais laikais išsiskyrė nuo kitų homonidų savo sugebėjimu, kaip Tomasello pastebėjo, užsiimti bendru reikalu ("joint intentionality"). Mano manymu, lygiagrečiai išsivystė žmonių nesąmoningas sugebėjimas savo kūnus derinti, ir kartu polinkis bendram reikalui susikaupti, kaip nesugeba šimpanzės arba autistai. Manau, tokią darną palaikė dainavimas, kas skatino išvystyti balso stygas ir išplėsti kalbos galimybes. Ryškėjant bendram reikalui žmonės ėmė žaisti žaidimus, kurti vaizduotės pasaulius, į kuriuos įžengdavo bendru klausimu ir iš kurio išeidavo bendru atsakymu. Pristatysiu žaidimų gramatika, kurią išmąsčiau tirdamas Silicio slėnio įmonių kūrybinius žaidimus. Žaidimas plėtoja neatsakytą klausimą, tad šios mintys suskamba su L.Bernšteino "Neatsakytu klausimu" ir jo įžvalgomis apie muzikos gramatiką.
2018 gegužės 03 d., 13:33 atliko AndriusKulikauskas -
Ištrintos 0-3 eilutės:
[++Leonard Bernstein's "Unanswered Question"++]

[+Inspires Questions About the Origin of Games, Music, Language and Humanity+]
2018 gegužės 03 d., 13:32 atliko AndriusKulikauskas -
Pakeistos 1-3 eilutės iš
[+Leonard Bernstein's "Unanswered Question" Inspires Questions About the Origin of Games, Music, Language and Humanity+]
į:
[++Leonard Bernstein's "Unanswered Question"++]

[+
Inspires Questions About the Origin of Games, Music, Language and Humanity+]
2018 gegužės 03 d., 13:32 atliko AndriusKulikauskas -
Pakeista 1 eilutė iš:
[+Leonard Bernstein's "Unanswered Question" Inspires Questions About the Origin of Games, Music, Language and Humanity
į:
[+Leonard Bernstein's "Unanswered Question" Inspires Questions About the Origin of Games, Music, Language and Humanity+]
2018 gegužės 03 d., 13:30 atliko AndriusKulikauskas -
Pakeista 3 eilutė iš:
Attach:UQ-00.png
į:
Attach:UQ-Title.png
2018 gegužės 03 d., 13:14 atliko AndriusKulikauskas -
Pakeistos 1-28 eilutės iš
[+Leonard Bernstein's "Unanswered Question" Inspires Questions About the Origin of Games, Music, Language and Humanity.+]

II) Musical Syntax
* 32 min. Jack Loves Jill - chord
* irresolution - question
* minor - negation
* 35 min. Deletion
* 44 min. musical prose - Hannon
* 46 min. converting prose into poetry
* 48 min. inversions
* 1:11 upbeat vs. downbeat - deletion

III) Musical Semantics
* metaphor
* 20 min. "playing is the very stuff of music" - "the game of notes" Stravinsky: le jeu de ... musical puns and anagrams - a continuing game of anagrams - constant rearrangement made rich by horizontal and vertical structurs, melodic, harmonic and contrapuntal anagrams - variety of high and low registers, durations, meters - a super game of sonic anagrams - release energy, exercise purposes, to compete, to show off, to establish intimacy and other affective functions.
* 23 min. Music means what? Our thesis: music has intrinsic meanings of its own generated by a constant stream of metaphors which are all forms of musical transformations.
* 30 min. Beethoven dialogue - drama of pleading and refusal.
* 32 min. a totally metaphoric language
* 40 min. musical figure of speech - more direct - with greater force - than linguistic figure of speech - relating tonic to dominant and vice versa
* 45 min. repetition in poetry as the source of time
* 47 min. alliteration - repetition of single notes - anaphora - use of identical phrases - repetition of multiple notes
* 49 min. chiasmos - reversing the elements - AB vs. BA repetition subjected to reversal
* 51 min. rhetoric or poetic devices - musical transformations

IV) Delights and dangers of ambiguity
* Rhythmic ambiguity, chromatic ambiguity - ambiguity of key
* 1:49 The tritone
į:
[+Leonard Bernstein's "Unanswered Question" Inspires Questions About the Origin of Games, Music, Language and Humanity

Attach:UQ-00
.png
Pridėtos 129-156 eilutės:

----------------------

II) Musical Syntax
* 32 min. Jack Loves Jill - chord
* irresolution - question
* minor - negation
* 35 min. Deletion
* 44 min. musical prose - Hannon
* 46 min. converting prose into poetry
* 48 min. inversions
* 1:11 upbeat vs. downbeat - deletion

III) Musical Semantics
* metaphor
* 20 min. "playing is the very stuff of music" - "the game of notes" Stravinsky: le jeu de ... musical puns and anagrams - a continuing game of anagrams - constant rearrangement made rich by horizontal and vertical structurs, melodic, harmonic and contrapuntal anagrams - variety of high and low registers, durations, meters - a super game of sonic anagrams - release energy, exercise purposes, to compete, to show off, to establish intimacy and other affective functions.
* 23 min. Music means what? Our thesis: music has intrinsic meanings of its own generated by a constant stream of metaphors which are all forms of musical transformations.
* 30 min. Beethoven dialogue - drama of pleading and refusal.
* 32 min. a totally metaphoric language
* 40 min. musical figure of speech - more direct - with greater force - than linguistic figure of speech - relating tonic to dominant and vice versa
* 45 min. repetition in poetry as the source of time
* 47 min. alliteration - repetition of single notes - anaphora - use of identical phrases - repetition of multiple notes
* 49 min. chiasmos - reversing the elements - AB vs. BA repetition subjected to reversal
* 51 min. rhetoric or poetic devices - musical transformations

IV) Delights and dangers of ambiguity
* Rhythmic ambiguity, chromatic ambiguity - ambiguity of key
* 1:49 The tritone
2018 gegužės 03 d., 13:12 atliko AndriusKulikauskas -
Pakeista 1 eilutė iš:
[+The Unanswered Question+]
į:
[+Leonard Bernstein's "Unanswered Question" Inspires Questions About the Origin of Games, Music, Language and Humanity.+]
2018 gegužės 02 d., 13:52 atliko AndriusKulikauskas -
Pakeistos 1-3 eilutės iš
Bernstein
į:
[+The Unanswered Question+]

II) Musical Syntax
Pakeista 13 eilutė iš:
Semantics
į:
III) Musical Semantics
Pakeista 25 eilutė iš:
Delights and dangers of ambiguity
į:
IV) Delights and dangers of ambiguity
Pakeistos 27-56 eilutės iš
į:
* 1:49 The tritone

-----------------

[+Outline+]

Bernstein's grand ideas
* Musical phonetics? Physics?
* Chomky's syntax: transformations from deep structure to surface structure: "Jack loves Jill" - passive, negation, question - musically expressed (video)
* Music as game
* Metaphor
* Music as rhetorical dialogue (video)
* Musical transformations as rhetorical devices -
* The requirements for ambiguity
And consider excerpts from his videos

My grand ideas
* Evolution towards abstraction of the universe
* Joint intentionality - synchronicity -
* Chimpanzee sounds (video) vs. children singing (video)
* Abstraction of sound - ability to sing in unison though in different octaves
* Universal grammar of games [music as game]
* Question and answer
* Meaning - extrinsic (real world semantics) and instrinsic (musical syntax)
* Algebra of copyright - three parsers - and their requirements
* Linear grammar and nonlinear grammar
* Establishing and playing with expectations - emotion
* Syntactic - rhetorical forms
Pakeistos 63-84 eilutės iš
Language - extrinsic meaning. Music - intrinsic meaning. Math is similar to music.

Garnys, garnys: Sukuria

"The crane, the crane has looong legs. The crane, the crane has looong legs. Run, I'd run, I would, I would, if I so should have very long legs like
the crane."

Poetry - unconscious speaks to conscious - by way
of emotion - by way of unconscious expectations.

Art - music is necessarily art - art is contrived, not related to the real world, relates to itself
.

A human has the freedom to intend the joint intention or their own intention.

Music has emotive effect. Because it plays with expectations
.

Language has emotive effect (poetry) but also literal effect (prose). What (primary) structure adds this literal effect?

Levels of parsers - Algebra of copyright

Consciousness can shift from one parser to another parser.

Semantic parser vs. syntactic parser
?
į:
'''Joint intentionality'''

* A human has the freedom to intend the joint intention or their own intention
.

'''Unison'''

* The other apes don't have rhythm - they don't clap in unison - tbey have call and response - they may copy - but not perfected unison - that is
the first human innovation - which creates a musical space.
* Abstraction
of pitch difference is important for singing in unity - for men and women (with different ranges) to share a melody. Animals don't abstract pitch difference.
* Matching of pitches for harmonization with each other. How do people determine pitch? They need to attune to each other.



'''Question and answer'''

* Garnys, garnys: Sukuria
* "The crane, the crane has looong legs. The crane, the crane has looong legs. Run, I'd run, I would, I would, if I so should have very long legs like the crane."
* Opening section. Closing section. Static harmony, dynamic harmony, cadence, individual chords.


'''Meaning'''

* Language - extrinsic meaning. Music - intrinsic meaning. Math is similar to music.
* Art - music is necessarily art - art is contrived, not related to the real world, relates to itself.
* Language has emotive effect (poetry) but also literal effect (prose). What (primary) structure adds this literal effect
?
* Music is self-referential - as a system, it maps onto itself - thus it has a strict, well-defined structure. Whereas language references the world. But they are the same system of reference. In terms of category theory, music maps from Theory to Theory, whereas language maps from Theory to World. So music has no semantics, whereas language has semantics. Math is also important as a pure thinking about structure.
* The particular system of music (tones, chords, etc.) is the analogue of semantics in language. And thus they are different.

'''Algebra of copyright - three parsers'''

* Levels of parsers - Algebra of copyright
* Consciousness can shift from one parser to another parser.
* Semantic parser vs. syntactic parser?

* Lowest parser: the rhythm. Verb. Lets you hear - enter a musical space.
* Next parser: melody. Motive - Noun. Lets you hear a voice.
* Next parser: harmony. Adjective. Lets you hear the structure amongst various melodies, voices.

* Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice. And accentuating the freedom of the choice. Retroactive sense making. The importance of cadence. The establishment of a tone in the opening can be completed by the establishment of a different tone in the ending.
* The levels of parsers (as in the algebra of copyright) yield the six transformations and they express the nature of an established system. So the pre-systemic ways of figuring things out are what are needed to establish the parsers, and the pre-parsed atoms, thus the four levels of knowledge that ground them.
* Harmonization of abstract systems.

'''Abstract structural expectations'''
Pakeistos 111-141 eilutės iš
Circle of fifths

Abstraction of pitch difference is important for singing in unity - for men and women (with different ranges) to share a melody. Animals don't abstract pitch difference.

Matching of pitches for harmonization with each other. How do people determine pitch? They need to attune to each other
.

Harmonization of abstract systems.

[[http://www.harmony.org.uk | Tom Sutcliffe]] Musical phrase structure.

Opening section. Closing section. Static harmony, dynamic harmony, cadence, individual chords.

Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice. And accentuating the freedom of the choice. Retroactive sense making. The importance of cadence. The establishment of a tone in the opening can be completed by the establishment of a different tone in the ending.

Example: "Garnys, garnys".

* Lowest parser: the rhythm. Verb. Lets you hear
- enter a musical space.
* Next parser: melody. Motive
- Noun. Lets you hear a voice.
* Next parser: harmony. Adjective. Lets you hear the structure amongst various melodies, voices.

The other apes don't have rhythm
- they don't clap in unison - tbey have call and response - they may copy - but not perfected unison - that is the first human innovation - which creates a musical space.

The levels of parsers (as in the algebra of copyright) yield the six transformations and they express the nature of an established system. So the pre
-systemic ways of figuring things out are what are needed to establish the parsers, and the pre-parsed atoms, thus the four levels of knowledge that ground them.

Music is self
-referential - as a system, it maps onto itself - thus it has a strict, well-defined structure. Whereas language references the world. But they are the same system of reference. In terms of category theory, music maps from Theory to Theory, whereas language maps from Theory to World. So music has no semantics, whereas language has semantics. Math is also important as a pure thinking about structure.

The particular system of music (tones, chords, etc.) is the analogue of semantics in language. And thus they are different.

Creation of tension (through instability) and resolution. As in stories.
į:
* Creation of tension (through instability) and resolution. As in stories.
* Circle of fifths

'''Expectations and emotion'''

* Music has emotive effect. Because it plays with expectations.
* Poetry - unconscious speaks to conscious - by way of emotion - by way of unconscious expectations
.

-----------------
Pridėtos 125-127 eilutės:


* [[http://www.harmony.org.uk | Tom Sutcliffe]] Musical phrase structure.
2018 gegužės 02 d., 12:02 atliko AndriusKulikauskas -
Pridėtos 22-24 eilutės:

Delights and dangers of ambiguity
* Rhythmic ambiguity, chromatic ambiguity - ambiguity of key
2018 gegužės 01 d., 13:30 atliko AndriusKulikauskas -
Pakeista 21 eilutė iš:
į:
* 51 min. rhetoric or poetic devices - musical transformations
2018 gegužės 01 d., 13:28 atliko AndriusKulikauskas -
Pakeistos 20-22 eilutės iš
*

Music as rhetoric
į:
* 49 min. chiasmos - reversing the elements - AB vs. BA repetition subjected to reversal


Music as rhetoric - repetition and variation
2018 gegužės 01 d., 13:27 atliko AndriusKulikauskas -
Pridėtos 20-22 eilutės:
*

Music as rhetoric
2018 gegužės 01 d., 13:26 atliko AndriusKulikauskas -
Pridėta 19 eilutė:
* 47 min. alliteration - repetition of single notes - anaphora - use of identical phrases - repetition of multiple notes
2018 gegužės 01 d., 13:24 atliko AndriusKulikauskas -
Pakeista 18 eilutė iš:
*
į:
* 45 min. repetition in poetry as the source of time
2018 gegužės 01 d., 13:20 atliko AndriusKulikauskas -
Pakeista 17 eilutė iš:
* 40 min. musical figure of speech - more direct - with greater force - than linguistic figure of speech
į:
* 40 min. musical figure of speech - more direct - with greater force - than linguistic figure of speech - relating tonic to dominant and vice versa
2018 gegužės 01 d., 13:19 atliko AndriusKulikauskas -
Pakeistos 17-18 eilutės iš
į:
* 40 min. musical figure of speech - more direct - with greater force - than linguistic figure of speech
*
2018 gegužės 01 d., 13:15 atliko AndriusKulikauskas -
Pridėtos 18-19 eilutės:

Metaphor - the common "X factor" relating A and B - a shared principle, a shared phenomenon.
2018 gegužės 01 d., 13:14 atliko AndriusKulikauskas -
Pakeista 19 eilutė iš:
What is the boundary between self and world in music?
į:
What is the boundary between self and world in music? Between the known and the unknown? The old and the new?
2018 gegužės 01 d., 13:13 atliko AndriusKulikauskas -
Pridėta 19 eilutė:
What is the boundary between self and world in music?
2018 gegužės 01 d., 13:11 atliko AndriusKulikauskas -
Pridėta 16 eilutė:
* 32 min. a totally metaphoric language
2018 gegužės 01 d., 13:09 atliko AndriusKulikauskas -
Pakeista 15 eilutė iš:
* 30 min. Beethoven dialogue - pleading and refusal.
į:
* 30 min. Beethoven dialogue - drama of pleading and refusal.
2018 gegužės 01 d., 13:08 atliko AndriusKulikauskas -
Pridėta 15 eilutė:
* 30 min. Beethoven dialogue - pleading and refusal.
2018 gegužės 01 d., 13:06 atliko AndriusKulikauskas -
Pakeistos 13-14 eilutės iš
* 20 min. "playing is the very stuff of music" - "the game of notes" Stravinsky: le jeu de ... musical puns and anagrams - a continuing game of anagrams - constant rearrangement made rich by horizontal and vertical structurs, melodic, harmonic and contrapuntal anagrams - variety of high and low registers, durations, meters - a super game of sonic anagrams - release energy, exercise purposes, to compete, to show off, to establish intimacy -
į:
* 20 min. "playing is the very stuff of music" - "the game of notes" Stravinsky: le jeu de ... musical puns and anagrams - a continuing game of anagrams - constant rearrangement made rich by horizontal and vertical structurs, melodic, harmonic and contrapuntal anagrams - variety of high and low registers, durations, meters - a super game of sonic anagrams - release energy, exercise purposes, to compete, to show off, to establish intimacy and other affective functions.
* 23 min. Music means what? Our thesis: music has intrinsic meanings of its own generated by a constant stream of metaphors which are all forms of musical transformations.



Language - extrinsic meaning. Music - intrinsic meaning. Math is similar to music.
Pakeista 22 eilutė iš:
"The crane, the crane has looong legs. The crane, the crane has looong legs. Run, I'd run, I would, I would, if I had such extremely long legs like the crane."
į:
"The crane, the crane has looong legs. The crane, the crane has looong legs. Run, I'd run, I would, I would, if I so should have very long legs like the crane."
2018 gegužės 01 d., 12:57 atliko AndriusKulikauskas -
Ištrinta 8 eilutė:
Pridėtos 10-13 eilutės:

Semantics
* metaphor
* 20 min. "playing is the very stuff of music" - "the game of notes" Stravinsky: le jeu de ... musical puns and anagrams - a continuing game of anagrams - constant rearrangement made rich by horizontal and vertical structurs, melodic, harmonic and contrapuntal anagrams - variety of high and low registers, durations, meters - a super game of sonic anagrams - release energy, exercise purposes, to compete, to show off, to establish intimacy -
2018 balandžio 30 d., 21:20 atliko AndriusKulikauskas -
Pridėtos 9-10 eilutės:

* 1:11 upbeat vs. downbeat - deletion
2018 balandžio 30 d., 21:12 atliko AndriusKulikauskas -
Pridėtos 9-12 eilutės:

Garnys, garnys: Sukuria

"The crane, the crane has looong legs. The crane, the crane has looong legs. Run, I'd run, I would, I would, if I had such extremely long legs like the crane."
2018 balandžio 30 d., 20:43 atliko AndriusKulikauskas -
Pridėtos 6-12 eilutės:
* 44 min. musical prose - Hannon
* 46 min. converting prose into poetry
* 48 min. inversions

Poetry - unconscious speaks to conscious - by way of emotion - by way of unconscious expectations.

Art - music is necessarily art - art is contrived, not related to the real world, relates to itself.
2018 balandžio 30 d., 20:27 atliko AndriusKulikauskas -
Pakeista 5 eilutė iš:
į:
* 35 min. Deletion
2018 balandžio 30 d., 20:25 atliko AndriusKulikauskas -
Pridėtos 1-6 eilutės:
Bernstein
* 32 min. Jack Loves Jill - chord
* irresolution - question
* minor - negation
2018 balandžio 30 d., 12:43 atliko AndriusKulikauskas -
Pridėtos 1-2 eilutės:
A human has the freedom to intend the joint intention or their own intention.
2018 balandžio 30 d., 12:16 atliko AndriusKulikauskas -
Ištrinta 0 eilutė:
Pridėtos 6-9 eilutės:

Consciousness can shift from one parser to another parser.

Semantic parser vs. syntactic parser?
2018 balandžio 30 d., 10:45 atliko AndriusKulikauskas -
Ištrinta 1 eilutė:
Pridėtos 60-63 eilutės:

* Meyer, 1956. Emotion & Meaning in Music.
* Huron, 2006. Sweet Anticipation.
* "Chills research" (Sloboda, Zatorre)
2018 balandžio 28 d., 11:07 atliko AndriusKulikauskas -
Pakeistos 1-4 eilutės iš
[[https://www.youtube.com/watch?v=qWreUHbws9g | Fred Lehrdal 52 min]]

Leonard Bernstein
į:
Pridėtos 56-57 eilutės:
* [[https://www.youtube.com/watch?v=qWreUHbws9g | Fred Lehrdal video]]
* Leonard Bernstein - Musical Syntax
2018 balandžio 28 d., 09:53 atliko AndriusKulikauskas -
Pakeista 57 eilutė iš:
* [[https://www.frontiersin.org/books/the_relationship_between_music_and_language/93 | Aniruddh Patel]], music cognition
į:
* [[https://www.frontiersin.org/books/the_relationship_between_music_and_language/93 | Aniruddh Patel]], music cognition, brain responses, syntax, [[https://www.youtube.com/watch?v=bjJ6ZsRmGgk | at Rice University]].
2018 balandžio 28 d., 09:48 atliko AndriusKulikauskas -
Pridėta 57 eilutė:
* [[https://www.frontiersin.org/books/the_relationship_between_music_and_language/93 | Aniruddh Patel]], music cognition
2018 balandžio 28 d., 09:32 atliko AndriusKulikauskas -
Pridėtos 21-22 eilutės:

Harmonization of abstract systems.
2018 balandžio 28 d., 09:00 atliko AndriusKulikauskas -
Pridėtos 10-14 eilutės:

Supposed differences
* Structural categories are different: Subjects, Objects vs. Tonics, Dominants
* Different kinds of hierarchical tree structure (Lerdahl & Jackendoff, 1983)
* Opposite hemispheric bias - Neuroimaging (Zatorre), neuropsychology
2018 balandžio 28 d., 08:57 atliko AndriusKulikauskas -
Pridėtos 14-15 eilutės:

Matching of pitches for harmonization with each other. How do people determine pitch? They need to attune to each other.
2018 balandžio 28 d., 08:53 atliko AndriusKulikauskas -
Pridėtos 10-11 eilutės:

Circle of fifths
2018 balandžio 28 d., 08:51 atliko AndriusKulikauskas -
Pridėta 45 eilutė:
* Krumhansi 1979
2018 balandžio 28 d., 08:45 atliko AndriusKulikauskas -
Pakeista 11 eilutė iš:
Abstraction of pitch difference is important for singing in unity - for men and women (with different ranges) to share a melody.
į:
Abstraction of pitch difference is important for singing in unity - for men and women (with different ranges) to share a melody. Animals don't abstract pitch difference.
2018 balandžio 28 d., 08:44 atliko AndriusKulikauskas -
Pridėtos 10-11 eilutės:

Abstraction of pitch difference is important for singing in unity - for men and women (with different ranges) to share a melody.
2018 balandžio 28 d., 08:30 atliko AndriusKulikauskas -
Pridėta 42 eilutė:
* [[https://www.frontiersin.org/books/the_relationship_between_music_and_language/93 | The Relationship Between Music and Language]]
2018 balandžio 27 d., 13:25 atliko AndriusKulikauskas -
Pridėtos 1-2 eilutės:
[[https://www.youtube.com/watch?v=qWreUHbws9g | Fred Lehrdal 52 min]]
2018 balandžio 27 d., 13:05 atliko AndriusKulikauskas -
Pakeistos 13-14 eilutės iš
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice. And accentuating the freedom of the choice. Retroactive sense making.
į:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice. And accentuating the freedom of the choice. Retroactive sense making. The importance of cadence. The establishment of a tone in the opening can be completed by the establishment of a different tone in the ending.
Pridėta 42 eilutė:
* [[https://tu-dresden.de/gsw/phil/ikm/muwi/ressourcen/dateien/lehrveranstaltungen/ws_2015-16-ss2020/ws_2015_2016/s_musik_mathematik_kognition/gsm-rohrmeier-2011.pdf?lang=en | Towards a generative syntax of tonal harmony.]]
2018 balandžio 27 d., 13:01 atliko AndriusKulikauskas -
Pridėtos 40-49 eilutės:

* [[http://www.musica.ed.ac.uk/wp-content/uploads/Manual_Upload/Martin_Rohrmeier_MusicalSyntax.pdf | Rohrmeier. Musical syntax and its cognitive implications.]]

* Granroth-Wilding, M & Steedman, M. (2012) Statistical Parsing for Harmonic Analysis of Jazz Chord Sequences. In Proceedings of the International Computer Music Conference (ICMC).
* Haas, W.B. de, Rohrmeier, M., Veltkamp, R.C. & Wiering, F. (2009). Modeling Harmonic Similarity Using a Generative Grammar of Tonal Harmony. In Proceedings of theInternational Conference on Music Information Retrieval (ISMIR).
* Lerdahl, F. & Jackendoff, R. (1983). A Generative Theory of Tonal Music. Cambridge, MA.
* Patel, A.D. (2008). Music, Language, and the Brain. Oxford University Press, New York.
* Rebuschat, P., Rohrmeier, M., Cross, I., Hawkins (2011) Eds. Language and Music as Cognitive Systems. Oxford University Press
* Rohrmeier, M. (2011). Towards a generative syntax of tonal harmony. Journal of Mathematics and Music, 5 (1), pp. 35-53.
* Steedman, M. (1996). The Blues and the Abstract Truth: Music and Mental Models. In A. Garnham and J. Oakhill, (eds.), Mental Models In Cognitive Science. Mahwah, NJ: Erlbaum, 305-318.
2018 balandžio 27 d., 11:07 atliko AndriusKulikauskas -
Pakeista 13 eilutė iš:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice. And accentuating the freedom of the choice.
į:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice. And accentuating the freedom of the choice. Retroactive sense making.
2018 balandžio 27 d., 11:05 atliko AndriusKulikauskas -
Pakeista 13 eilutė iš:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice.
į:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice. And accentuating the freedom of the choice.
2018 balandžio 27 d., 11:05 atliko AndriusKulikauskas -
Pakeista 13 eilutė iš:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance.
į:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance. Creation of tension (by dominant) and resolution. Will the dominant become a new tonic? Or will we return to the tonic? The tension of the choice.
2018 balandžio 27 d., 11:00 atliko AndriusKulikauskas -
Pakeista 13 eilutė iš:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty.
į:
Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty. The role of silence as the main fount of normality, consonance.
2018 balandžio 27 d., 10:59 atliko AndriusKulikauskas -
Pridėtos 12-13 eilutės:

Importance of giving the ear something to pay attention to. It is listening for normality and abnormality and distinguishing the two. Thus consonance and dissonance. If it can't hear dissonance then it feels beauty.
2018 balandžio 26 d., 13:33 atliko AndriusKulikauskas -
Pakeista 36 eilutė iš:
* Tonal Pitch Space, Fred Lerdahl, 2001
į:
* [[https://ebookcentral.proquest.com/lib/vgtulibrary-ebooks/reader.action?docID=3052811&query= | VGTU: Tonal Pitch Space]], Fred Lerdahl, 2001
2018 balandžio 26 d., 11:47 atliko AndriusKulikauskas -
Pakeista 37 eilutė iš:
į:
* [[https://www.fredlerdahl.com/writings/ | Fred Lerdahl, writings]]
2018 balandžio 26 d., 11:45 atliko AndriusKulikauskas -
Pakeista 32 eilutė iš:
* [[https://www.youtube.com/watch?v=mq6-MENpm0k | Musical syntax and its relation to linguistic syntax]]
į:
* [[https://www.youtube.com/watch?v=mq6-MENpm0k | Musical syntax and its relation to linguistic syntax]] Fred Lerdahl
Pridėtos 34-36 eilutės:

Books
* Tonal Pitch Space, Fred Lerdahl, 2001
2018 balandžio 23 d., 11:49 atliko AndriusKulikauskas -
Pridėta 27 eilutė:
Creation of tension (through instability) and resolution. As in stories.
2018 balandžio 23 d., 11:37 atliko AndriusKulikauskas -
Pakeista 25 eilutė iš:
į:
The particular system of music (tones, chords, etc.) is the analogue of semantics in language. And thus they are different.
2018 balandžio 23 d., 11:13 atliko AndriusKulikauskas -
Pakeista 23 eilutė iš:
Music is self-referential - as a system, it maps onto itself - thus it has a strict, well-defined structure. Whereas language references the world. But they are the same system of reference. In terms of category theory, music maps from Theory to Theory, whereas language maps from Theory to World.
į:
Music is self-referential - as a system, it maps onto itself - thus it has a strict, well-defined structure. Whereas language references the world. But they are the same system of reference. In terms of category theory, music maps from Theory to Theory, whereas language maps from Theory to World. So music has no semantics, whereas language has semantics. Math is also important as a pure thinking about structure.
2018 balandžio 23 d., 11:07 atliko AndriusKulikauskas -
Pridėtos 18-19 eilutės:

The other apes don't have rhythm - they don't clap in unison - tbey have call and response - they may copy - but not perfected unison - that is the first human innovation - which creates a musical space.
2018 balandžio 23 d., 11:05 atliko AndriusKulikauskas -
Pakeistos 15-17 eilutės iš
* Lowest parser: the rhythm. Verb.
* Next parser: melody. Motive - Noun.
* Next parser: harmony
. Adjective.
į:
* Lowest parser: the rhythm. Verb. Lets you hear - enter a musical space.
* Next parser: melody. Motive - Noun. Lets you hear a voice.
* Next parser: harmony. Adjective. Lets you hear the structure amongst various melodies, voices
.
2018 balandžio 23 d., 10:24 atliko AndriusKulikauskas -
Pridėta 29 eilutė:
* [[https://www.youtube.com/watch?v=mq6-MENpm0k | Musical syntax and its relation to linguistic syntax]]
2018 balandžio 23 d., 10:23 atliko AndriusKulikauskas -
Pridėtos 18-23 eilutės:

The levels of parsers (as in the algebra of copyright) yield the six transformations and they express the nature of an established system. So the pre-systemic ways of figuring things out are what are needed to establish the parsers, and the pre-parsed atoms, thus the four levels of knowledge that ground them.

Music is self-referential - as a system, it maps onto itself - thus it has a strict, well-defined structure. Whereas language references the world. But they are the same system of reference. In terms of category theory, music maps from Theory to Theory, whereas language maps from Theory to World.
2018 balandžio 23 d., 10:05 atliko AndriusKulikauskas -
Pakeistos 15-17 eilutės iš
* Lowest parser: the rhythm.
* Next parser: melody
* Next parser: harmony
į:
* Lowest parser: the rhythm. Verb.
* Next parser: melody. Motive - Noun.
* Next parser: harmony. Adjective.
2018 balandžio 23 d., 10:03 atliko AndriusKulikauskas -
Pakeistos 15-19 eilutės iš
Low level parser - the rhythm.


į:
* Lowest parser: the rhythm.
* Next parser: melody
* Next parser: harmony
2018 balandžio 23 d., 09:51 atliko AndriusKulikauskas -
Pridėtos 12-15 eilutės:

Example: "Garnys, garnys".

Low level parser - the rhythm.
2018 balandžio 23 d., 09:50 atliko AndriusKulikauskas -
Pridėtos 8-11 eilutės:

[[http://www.harmony.org.uk | Tom Sutcliffe]] Musical phrase structure.

Opening section. Closing section. Static harmony, dynamic harmony, cadence, individual chords.
2018 balandžio 23 d., 09:47 atliko AndriusKulikauskas -
Pakeistos 7-9 eilutės iš

į:
Levels of parsers - Algebra of copyright







[+Sources+]
2018 balandžio 23 d., 09:44 atliko AndriusKulikauskas -
Pakeista 5 eilutė iš:
Language has emotive effect (poetry) but also literal effect (prose).
į:
Language has emotive effect (poetry) but also literal effect (prose). What (primary) structure adds this literal effect?
2018 balandžio 23 d., 09:44 atliko AndriusKulikauskas -
Pridėtos 2-11 eilutės:

Music has emotive effect. Because it plays with expectations.

Language has emotive effect (poetry) but also literal effect (prose).





* Video by [[https://www.youtube.com/watch?v=YDQZ4qsaktU | Kevin K.]]
2018 balandžio 23 d., 09:40 atliko AndriusKulikauskas -
Pridėtos 1-2 eilutės:
Leonard Bernstein

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